NOMO
Invisible Cities
Ubiquity, 2009
By Jake Shenker
I first encountered NOMO a few years back at the Montreal Jazz Festival. I’ll admit that I was less than sober, but I’m pretty sure NOMO would have drawn me in regardless of my mental state.
Back then, this self-labeled “Michicago” band was touring in support of their outstanding second album, New Tones, which I immediately went out and bought upon waking up the following morning with the mysterious word “NOMO” scrawled on my hand in blue pen. Surprisingly, the record was just as sensational as the previous night’s show seemed to be in my memory — a phenomenon that any substance-abusing music fan can attest to as being pretty rare. NOMO’s unusual — and seamless — blend of traditional afro-beat rhythms, funk harmonies, and modern electronica produces a huge sound that somehow translates perfectly from their larger-than-life live show to my CD player.
This week, NOMO released their fourth album, Invisible Cities, and I’m happy to report that this record is just as exciting as my drunken night in the NOMO moshpit. While their sound has evolved slightly, incorporating more traditional African rhythms and less soundscape electronics, their tunes are just as jaw-dropping. From the call-and-response horn lines in “Waiting” to the slow buildup of “Crescent,” NOMO have once again created a masterfully danceable record. Although Invisible Cities has less memorable melodies than New Tones and instead focuses on longer jams, this shift doesn’t seem out of place for a band exploring the more improvisational roots of their music. The meandering sound of tracks like “Ma” might not be perfect for entertaining dinner guests, but it definitely gets my feet tapping… or my whole body dancing wildly, depending on my mental state.
To preview some tracks from the new record, check out NOMO’s myspace.
